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When I hear music, I fear no danger. I am invulnerable. I see no foe. I am related to the earliest times, and to the latest.

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Fourteen minutes is a long time. Long enough for the sun to rise or set. Long enough to walk a mile in someone else’s shoes. And long enough to listen to the inarguably gorgeous “Drømmen om Ø (Forever Mix ’19)” by Danish electronic producer Kasper Marott. To call it a song wouldn’t be wrong, but it’s more like a mini-suite, bliss boiled down into music. That’s a bit of a surprise coming from Marott, whose usual squeaky techno tracks, though perfect for the endorphin rush of Copenhagen’s rave scene, are too fast-paced to feel authentically joyful. “Drømmen om Ø (Forever ...
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Many of Róisín Murphy’s best songs hinge upon a single word—“Jealousy,” “Simulation,” “Overpowered”—terse incantations wrung for every iota of their potency. On “Incapable,” the Irish singer invokes a particularly loaded term, singing from the perspective of a woman estranged from the very ability to love. It’s a sneaky tune. At first, it sounds celebratory: “Never had a broken heart,” she admits, as her longtime accomplice Richard Barratt (aka Crooked Man) threads a hypnotic deep-house groove with slinky hints of disco. It sounds like a boast; her voice is somewhere between blasé and bulletproof. But as the song builds, and she ...
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The expanded (Sandy) Alex G universe is filled with wayward characters, misfits, and outcasts used in song as cautionary tales; a drug dealer, a bad roommate, crushes with hearts tough as leather. All along, though, there’s this prevailing sense of trying to do better, to make right by his friends, his lovers, his dog Harvey. On “Gretel,” his first track since 2017’s Rocket and the first single off his forthcoming album House of Sugar, it’s hard not to read those titles as a reference to the Grimms’ fairytale of greed gone astray, with Alex G serving as a narrator desperately ...
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Jai Paul’s enigmatic electronic soul flourishes on low-key unpredictability. He pulls the rug out from under you not with overblown key changes or forceful drops, but through small-scale, finely tuned production details and vocal processing that he drizzles over his music like clarified butter. “He,” one of two new songs from the reticent artist, is a strutting demonstration of his quiet method of upending expectations. Riding on elliptical electric guitar licks and slick, widescreen synths, “He” is wiry and intoxicating, a languid exhalation of Paul’s distinctly future-minded funk-R&B. Where the swooning first track in the double B-side release, “Do You ...
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It happened on a Saturday in April 2013. A handful of songs dropped on Bandcamp and no one really knew what to do. Jaws were agape, articles were written, and people were in a rush to announce these strange tracks—some holy mix of Prince and Burial and who knows what else—were the best they’d ever heard. It didn’t matter that you could barely make out a single word Jai Paul was saying. It was just clear that this stuff was so good and so original. Then, just as quickly, the album worth of material disappeared, and its remnants were passed ...
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